"A pioneering work."--Steven Smith, University of Essex

The Anatomy of Insults in Shakespeare's World explores Shakespeare's complex art of insults and shows how the playwright set abusive words at the heart of many of his plays. It provides valuable insights on a key aspect of Shakespeare's work that has been little explored to date. Focusing on the most memorable scenes of insult, abusive characters and insulting effects in the plays, the volume shifts how readers understand and read Shakespeare's insults. Chapters analyze the spectacular rhetoric of insult in Henry IV, Troilus and Cressida and Timon of Athens; the 'skirmishes of wit' in Much Ado about Nothing and A Midsummer Night's Dream; insult and duelling codes in Romeo and Juliet, As You Like It and Twelfth Night, the complex relationships between slander and insult in Much Ado about Nothing and Measure for Measure; the taming of the tongue in Richard III and The Taming of the Shrew, the trauma of insults in Othello, The Merchant of Venice and Cymbeline and insult beyond words in Henry V and King lear. Grasping insult as a specific speech act, the volume explores the issues of verbal violence and verbal shields and the importance of reception and interpretation in matters of insult. It offers a panorama of the Elizabethan politics of insult and redefines Shakespeare's drama as a theatre of insults.

This is the only encyclopedia and social history of swearing and foul language in the English-speaking world. It covers the various social dynamics that generate swearing, foul language, and insults in the entire range of the English language. While the emphasis is on American and British English, the different major global varieties, such as Australian, Canadian, South African, and Caribbean English are also covered. A-Z entries cover the full range of swearing and foul language in English, including fascinating details on the history and origins of each term and the social context in which it found expression. Categories include blasphemy, obscenity, profanity, the categorization of women and races, and modal varieties, such as the ritual insults of Renaissance "flyting" and modern "sounding" or "playing the dozens." Entries cover the historical dimension of the language, from Anglo-Saxon heroic oaths and the surprising power of medieval profanity, to the strict censorship of the Renaissance and the vibrant, modern language of the streets. Social factors, such as stereotyping, xenophobia, and the dynamics of ethnic slurs, as well as age and gender differences in swearing are also addressed, along with the major taboo words and the complex and changing nature of religious, sexual, and racial taboos.

Who’s Swearing Now? represents an investigation of how people actually swear, illustrated by a collection of over 500 spontaneous swearing utterances along with their social and linguistic contexts. The book offers a solution to the controversial issue of defining swear words and swearing by limiting the investigation to the core set of words most common to previous swearing studies. This specific focus results in accurate depictions of contextualized swearing utterances. Precise frequency counts are thus enabled which, along with offensiveness ratings of contextualized and non-contextualized swearing, enable a clarification of The Swearing Paradox, referring to the phenomenon of frequently used swear words also being those which traditionally are judged to be the most offensive. The book revisits the relationship between gender and swear word usage, but considers the distribution based on the core subset of swear words, revealing similarities where others have claimed differences. Significantly, Who’s Swearing Now? considers the aspect of race with regards to swear word usage, and reveals behavioral differences between, for example, White and African American males and females with regards to word preferences, as well as social impetuses for and effects of swearing. Questionnaire and interview data supplement the swearing utterances, revealing participants’ individual credos about their own use or non-use of swear words and, interestingly, about others’ allowed or ideally prohibited use of swear words. These sets of data present thought-provoking and often entertaining statements regarding the unwritten set of rules governing swearing behavior. Who’s Swearing Now? concludes with close analyses of four recent and highly publicized incidences of public swear word usage, considered in light of the spontaneous swearing utterances, speaker and addressee variables such as gender, race and age, and perceptions of offensiveness and propriety

The Neuro-Psycho-Social Theory of Speech draws together information about cursing from different disciplines and unites them to explain and describe the psychological, neurological, cultural and linguistic factors that underlie this phenomenon.

This book explores American maritime world, including cursing, language, logbooks, storytelling, sailor songs, reading, and material culture.

Who's Swearing Now? represents an investigation of how people actually swear, illustrated by a collection of over 500 spontaneous swearing utterances along with their social and linguistic contexts. The book features a focus on the use of eight swear words: ass, bitch, cunt, damn, dick, fuck, hell, shit and their possible inflections or derivations, e.g., asshole or motherfucker, offering a solution to the controversial issue of defining swear words and swearing by limiting the investigation to the core set of words most common to previous swearing studies. The specific focus results in accurate depictions of contextualized swearing utterances. Precise frequency counts are thus enabled which, along with offensiveness ratings of contextualized and non-contextualized swearing, enable a clarification of The Swearing Paradox, referring to the phenomenon of frequently used swear words also being those which traditionally are judged to be the most offensive. The book revisits the relationship between gender and swear word usage, but considers the distribution based on the core subset of swear words, revealing similarities where others have claimed differences. Significantly, Who's Swearing Now? considers the aspect of race with regards to swear word usage, and reveals behavioral differences between, for example, White and African American males and females with regards to word preferences as well as social impetuses for and effects of swearing. Questionnaire and interview data supplement the swearing utterances, revealing participants' individual credos about their own use or non-use of swear words and, interestingly, about others' allowed or ideally prohibited use of swear words. These sets of data present thought-provoking and often entertaining statements regarding the unwritten set of rules governing swearing behavior. Who's Swearing Now? concludes with close analyses of four recent and highly publicized incidences of public swear word usage, considered in light of the spontaneous swearing utterances, speaker and addressee variables such as gender, race and age, and perceptions of offensiveness and propriety.

Audiovisual translation has attracted the attention of many researchers in the years since it became recognised as an academic discipline with an established theory of translation. For its part, cinema is one of today’s most powerful and influential media, and the vast number of US films translated for Spanish audiences merits particular academic attention. This book presents an analysis of the insults from seven films directed by the North American filmmaker Quentin Tarantino – Reservoir Dogs, Pulp Fiction, Four Rooms, Jackie Brown, Kill Bill (vols. I and II), Death Proof, and Inglourious Basterds – and how these insults have been translated from English into Spanish. One of the main reasons for building a corpus of this nature was to document the way Tarantino’s work is dubbed, and, using concrete examples, to describe the reality of translation and provide linguistic material with which to study dubbing, the most widespread translation modality in Spain. In an analysis of this nature, Tarantino’s films offer an interesting opportunity from a social perspective because of the exceptional number of insults they contain: 1526 insults have been recorded, classified and analysed in the preparation for this book. The magnitude of this figure is evidence of Tarantino’s constant use of swearwords, regardless of what his audiences might think, and whether or not they might sometimes prefer not to hear such a steady stream of foul language. Furthermore, his popularity has been achieved precisely because he refuses to allow distribution companies to alter his dialogues in any way, or modify the violence of his scenes, making Tarantino’s films of particular interest to the reader.

"Entertaining and thought-provoking…Byrne’s enthusiasm for her esoteric subject is contagious, damn it." —Melissa Dahl, New York Times Book Review In this sparkling debut work of popular science, Emma Byrne examines the latest research to show how swearing can be good for you. She explores every angle of swearing—why we do it, how we do it, and what it tells us about ourselves. Packed with the results of unlikely and often hilarious scientific studies—from the “ice-bucket test” for coping with pain, to the connection between Tourette’s and swearing, to a chimpanzee that curses at her handler in sign language—Swearing Is Good for You presents a lighthearted but convincing case for the foulmouthed.

Any behavior that arouses, as swearing does, controversy, disagreement, disdain, shock, and indignation as often as it imbues passion, sincerity, intimacy, solidarity, and jocularity should be an obvious target of in-depth scholarship. Rigorous, scholarly investigation of the practice of swearing acknowledges its social and cultural significance, and allows us to discover and better understand the historical, psychological, sociological, and linguistic aspects (among others) of swearwords and swearword usage. The present volume brings together a range of themes and issues central to the existing knowledge of swearing and considers these in two key ‘new’ arenas, that is, in languages other than English, and/or in contexts and media other than spoken interaction. Many of the chapters analysed are based on large and robust collections of data, such as corpora or questionnaire responses, which allow for patterns of swearing to emerge. In other chapters, personally observed instances of swearing comprise the focus, allowing for a close analysis of the relationship between sociolinguistic context and pragmatic function. In each chapter, the cultural aspects of swearing are considered, ultimately affirming the importance of the study of swearing, and further establishing the legitimacy of swearing as a target of research.